Mutuality

Okay, so I've talked before about Opera Piccola's interactive folk tales for multigenerational audiences, and how amazing those experiences are for us actors. This past Friday we performed our African tale, "The Stolen Aroma," for two different Oakland groups: a school for troubled children and a family homeless shelter. This is a show created for our company, with text by Oakland's own Beverly Jarrett and jazz composer Wes Riley.

There's no way to tell who had more fun-- Gift Harris and I (the performers) or the fifteen children who played the roles of the Cooks and the Elders. You might expect that children needing a special school, or homeless children, might not be the best choice to improvise complex audience volunteer roles without any preparation other than, "help the puppy," or "do what Imo says."

Wrong!

Both groups of 4 to 8 year old volunteers were the best that I can remember -- and we've done over a hundred performances of this piece. The children zapped totally into being their charcters at once, and stayed there (some continued enacting multiple characters from the story afterwards while we were packing up; one 8 year old Cook suddenly talking to me in a perfect African accent that he had not had before the show). It's hard to describe the thrill of playing a scene with a child who stuns me with some new angle to the story with his/her improvisation.

"Don't go over there, I'm warning you," said one 6 year old Elder wisely to my character (Slough Dog). "Yes, I've been lost in the desert, and I was soooo scared," sympathized another Elder when asked. "No, you can't share the food," said one loyal 5 year old Cook, determined to be Employee of the Year to the rich, greedy Imo. "Even though Imo isn't coming back? I haven't had anything to eat in five days!" "Well, okay, but just one piece."

Adult actors study for years to achieve this magical melding of self and character in order to be faithful to a powerful story. Actor's Workshop, you should have been there at the group home and the shelter on Friday. I left floating on a cloud. "The children loved it," the Case Manager said as we left. They weren't the only ones.

Black History Month

At Oakland Technical High School, where I teach Chorus and Drama through Opera Piccola, we had an amazing Black History assembly on Friday. This whole month in classes so many things have connected to this theme-- even when not initially planned to do so. Setting aside a whole month gives expanded space, opportunity and time.

I asked students of all ethnicities in my classes (African American, Chinese, Filipino, White, Latino) to say what Black History Month means to them. They all agreed. "It's about struggle and overcoming. ... thinking about our ancestors and the heroes who went before us...... to stop racism and hatred...... to try our best now because of what they did."

Music Teacher David Byrd: "What I love is that we accept as part of us anyone who has experienced oppression. I want people to know there are Black people all over the world--India, Middle East, Asia, Europe, Cuba, everywhere-- so I have students learn Brazilian jazz this month."

Valentine's Daze

I asked high school students (random sampling) how they liked Valentine' s Day. About half said, "it's cool, a chance to tell someone you love them." Another almost half said they hated it. "It hurts when you're alone." "Your girlfriend gets mad if you don't get her a bunch of stuff." There appears to be some pressure or else excitement about purchasing stuff. Good for the economy, good for love?

An older woman shared, "I just broke up with myboyfriend of many years. This happy happy talk is painful."

As I 've been reading about women's rights and feminism this week, a thought stands out. Valentine's establishes women as the princesses who must receive the flowers, candy, jewels from men -- or ... Like the wedding ceremony in which the father "gives away" the bride in marriage, the princess image is disappearing along with other historically patriarchal customs.

Or is it? Disney rakes in cash with ices shows attended by happy young girls in their princess costumes. At a recent Opera Piccola performance, when I asked for volunteers from the audience to help with our show, a little girl said excitedly, "Yes, I'll be the Princess."! Our Mayan folk tale only has costumes for frogs, trees, clouds and wind.

Glee

"I just loved it so much I have to give every one of you a hug." At Grand Lake Gardens Retirement home.

At AgeSong, for Alzheimer's patients: "Did you see? Stanley said for the whole concert and enjoyed it! He doesn't sit still more than five minutes usually and he's always unhappy."
And, "We don't get serenaded like this very often."

"Can I dance? Your singing gives me- pep!" And: "This was wonderful. I'd like to write a letter to support the program. Who should I write to?" At Piedmont Gardens Retirement home.

Opera Piccola's small chorus at Oakland Tech High -- three young men and ten young women from ninth through 12 grades-- comes sleepily to practice once a week at 7:30 AM. By the time our fifty minutes of vocal technique and learning music is over, we're all feeling pretty good about the day ahead of us. We have to relax, breathe deeply and listen to all the pitches that hang in the air around us. Studies have shown the value of music performance on brains and bodies and emotions, but whatever the science of it, it's true. An interesting thing is that a singer doesn't really get to enjoy hearing his/her own voices while s/he is singing, because it sounds different inside the head from what the "audience" hears. It's better to be in the present, and let go the product.

Singing for the senior citizens yesterday, some of whom were quite ill with dementia, gave us the good feeling of the act of singing but also the good feeling of giving. Especially since our society regards seniors as people who've "lived their lives and had their chance," so we don't really need to pay attention to them. Their listening gave back to us and what a joy it was.